Hustling and Hoaxing
Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art
Bibliographic Data
| ID | 18965995 |
|---|---|
| Authors | Sarah Anne Stolte (0009-0006-0107-0969, Edgewood College, corresponding author) |
| Year | 2019 |
| Volume | 43 |
| Issue | 4 |
| Pages | 77-92 |
| Publication date | 2019-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | American Indian Culture and Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 0161-6463 • E-ISSN: 0161-6463 |
| Publisher | California Digital Library (CDL) (PUBLISHER) |
| DOI | 10.17953/aicrj.43.4.stolte |
| OpenAlex | W3094084763 |
| Language | EN |
| References cited | 4 |
This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery
Art · Art history · Colonialism · Cultural assimilation · Ethnic group · Expansionism · Expropriation · Literature · Narrative · Painting · Political science · Sociology · Anthropology · Art, Politics, and Modernism · Gender Studies · History · Law · Photography and Visual Culture · Visual Culture and Art Theory
| Highly cited | No |
|---|